Knækkede Liljer

Lynch/Fellini

It's a film ultimately about tolerance (albeit made in the most intolerant way possible) and if you can get past the awfulness that is the yellow face, it's actually a lovely little film that still remains a masterwork by one of the most controversial and innovative masters!

VincentVendetta

The utopia of cinema as a universal language, an art form reaching every corner of the world now lies broken in pieces. Birth of a Nation, after first seeming like a blessing, would become the director's curse, who would spend the rest of his career correcting his past sins. The world is a tragedy, there are no more deus ex machinas. Lillian and David have never been so miserable.

FISCHER

Tous les traditionnels archétypes et ressorts du mélodrame sont présents dans ce classique de Griffith, pour un résultat magistral, bouleversant, inoubliable... www.cinefiches.com

SpacePirate

Excellent Gish, solid Griffith. Griffith made films I consider to be tech better (Way Down East, Intolerance) but one cant really deny this is probably his most moving, given the subject matter of domestic violence and reevaluating one's faith. Gish gives perhaps her best performance outside of The Wind, which is an unbelievable film. Griffith made some undeniable early classics, best American silent director? 4.5

João Rocha

I don't see the racism in here: it was the Yellow peril years, and Griffith made the good be represented by the chinese character (what's the problem in the actor beeing not-asian?). It's quite brutal, and sweet, and like always is a delight watch Gish in this type of characters.

josé neves

Cinematography by G. W. Bitzer. "Desire" list: It may seem strange that before one of the cinematic summits of the last century and one of the great Lillian Gish peaks, i come to pick it via Richard Barthlemess, but it is also the film in which he surpassed himself, a Hollywood figure of a Chinese who became an unique object-representation of the most absolute male poeticity.

Michael Goetz

To my mind, Griffith's vision of tragic romance hasn't been bettered in American cinema. He extracts so much genuine emotion out of a hoary concept and stagey mise en scene; the absolute sincerity of the players overwhelms the formal stiffness and Griffithian sentimentality. There are no jerked tears, but lots of genuine ones. Only the modern sequence in Intolerance matches this.

_sans.soleil_

There's so much tenderness in this film. Really beautiful and poetic. I was really moved by Lillian's performance.